Alexandra

ABT has a terrific calendar on their web site -- it's a pop up, so I can't give you the direct URL but click here and you'll see a link that says View Full Calendar. There, browse through it month by month. It's got the Cleveland, Chicago and LA casting, and then the full Met casting.

AMERICAN BALLET THEATRE’S 2004 SPRING SEASON AT THE METROPOLITAN OPERA HOUSE, MAY 10-JULY 3, 2004 ALL-NEW PRODUCTION OF RAYMONDA AND SPECIAL OPENING NIGHT APPEARANCE BY VIOLINIST SARAH CHANG Svetlana Zakharova to Debut as Guest Artist American Ballet Theatre’s Spring 2004 season at the Metropolitan Opera House, May 10-July 3, will feature six full-length ballets including the United States Premiere of an all-new production of Raymonda by Anna-Marie Holmes and Kevin McKenzie. American Ballet Theatre’s 2004 season will open with a special Spring gala performance on Monday evening, May 10, featuring an appearance by internationally renowned violinist Sarah Chang. Ms. Chang will perform a pièce d’occasion and the evening will include a preview of the season’s ballets performed by ABT’s Principal Dancers. Principal Dancers for the engagement will include Nina Ananiashvili, Maxim Beloserkovsky, Julio Bocca, Jose Manuel Carreño, Angel Corella, Herman Cornejo, Irina Dvorovenko, Alessandra Ferri, Marcelo Gomes, Guillaume Graffin, Paloma Herrera, Amanda McKerrow, Gillian Murphy, Xiomara Reyes, Ethan Stiefel and Ashley Tuttle. Countrywide Financial is the National Sponsor of American Ballet Theatre’s 2004 Metropolitan Opera House season and national tour. Cole Haan is the Leading Benefactor of ABT’s Spring season and national tour. ABT’s Spring Season is made possible with public funds from the New York State Council on the Arts, a state agency, and the National Endowment for the Arts. American Ballet Theatre’s Opening Night Gala performance is sponsored by Signature Bank and Gianfranco Ferré. For information about the Opening Night Spring Gala, please call the Special Events Office at 212-477-3030, ext. 3239. United States Premiere of All-New Raymonda American Ballet Theatre will present the United States Premiere of an all-new production of the full-length Raymonda on Friday evening, May 21 at 8 P.M. Choreographed by Anna-Marie Holmes and conceived and directed by Holmes and Kevin McKenzie, Raymonda is set to the music of Alexander Glazunov, arranged by Ormsby Wilkins, and features sets and costumes by Zack Brown (Swan Lake and Dorian) and lighting by Steen Bjarke. A co-production with the Finnish National Ballet, the all-new Raymonda was given its World Premiere in Helsinki by the Finnish National Ballet in May, 2003. Excerpts from the new production of Raymonda, with choreography by Anna-Marie Holmes, were first presented by ABT in October 2003 at City Center. The World Premiere of Raymonda, choreographed by Marius Petipa, was given in 1898 by the Imperial Ballet at the Maryinsky Theatre in St. Petersburg, Russia. In 1964, Rudolf Nureyev restaged Raymonda with additional choreography for the Royal Ballet Touring Company. The production received its American Ballet Theatre premiere in 1975 in Houston, Texas with Cynthia Gregory as Raymonda, Rudolf Nureyev as Jean de Brienne and Erik Bruhn as Abderakhman. American Ballet Theatre gratefully acknowledges Julia and David Koch and Patricia K. Hagan for their generous support of this production. Major funding for Raymonda has been provided by the National Endowment for the Arts. Guest Artists Svetlana Zakharova, a principal dancer with the Bolshoi Ballet, will make her debut with American Ballet Theatre this season as a Principal Guest Artist. Ms. Zakharova will perform the role of Nikiya in La Bayadére opposite Jose Manuel Carreño on Monday evening, May 17 and Wednesday evening, May 19. Born in Louzk, Ukraine. Ms. Zakharova studied at the Kiev Ballet School and at the Vaganova Ballet Academy. She joined the Kirov Ballet in 1996 and became a principal in 1997. In September 2003, Ms. Zakharova joined the Bolshoi Ballet. She remains a guest artist with the Kirov. Roberta Marquez, a guest artist with The Royal Ballet of London, will appear with ABT as a Principal Guest Artist, performing the role of Nikiya in La Bayadère, on Friday evening, May 14 and at the matinee on Wednesday, May 19. At both performances, she will dance opposite Ethan Stiefel as Solor. Ms. Marquez was born in Brazil and trained at the Maria Olenawa State School of Dance. In 1994, she joined the Municipal Theatre Ballet in Rio de Janiero and was promoted to principal dancer in 2002. In 2003, she was invited to perform as a guest artist with The Royal Ballet. Earlier this year, Ms. Marquez made her ABT debut at the Kennedy Center for the Performing Arts performing the role of Nikiya. An all-Tchaikovsky Salute to George Balanchine In tribute to the centenary of choreographer George Balanchine, American Ballet Theatre will present a program of his works, all set to the music of Peter Ilyitch Tchaikovsky. The all-Balanchine/Tchaikovsky programs will be performed May 24 and May 26-31. Highlighting the program will be the Company Premiere of Mozartiana on Monday evening, May 24. Created in 1981, Mozartiana, one of Balanchine’s last works, is set to Suite No. 4 Mozartiana by Tchaikovsky and features costumes by Rouben Ter-Arutunian. The ballet will be staged for ABT by Maria Calegari. George Balanchine’s Ballet Imperial will have its revival premiere on Monday evening, May 24 with Gillian Murphy, Carlos Molina and Michele Wiles performing the leading roles. Set to Tchaikovsky’s Concerto No. 2 in G for Piano and Orchestra, Ballet Imperial features costumes by Rouben Ter-Arutunian and lighting by Jennifer Tipton. Last performed by ABT in 1996, Ballet Imperial received its World Premiere by American Ballet Caravan in 1941 and first entered ABT’s repertory in 1988. Colleen Neary will stage the revival of Ballet Imperial for ABT. American Ballet Theatre’s all-Balanchine/Tchaikovsky program will also include Theme and Variations and Tchaikovsky Pas de Deux. Paloma Herrera and Marcelo Gomes will lead the season’s first performance of Theme and Variations on Monday evening, May 24. ABT’s production of Theme and Variations, staged by Kirk Peterson, recreates the original version choreographed by Balanchine for Ballet Theatre in 1947. Full-length Ballets In addition to the all-new Raymonda, American Ballet Theatre will present five full-length ballets during its Spring season. La Bayadère, choreographed by Natalia Makarova after Marius Petipa, will be given nine performances beginning Thursday evening, May 13 with Nina Ananiashvili as Nikiya, Julio Bocca as Solor and Gillian Murphy as Gamzatti. Set to music by Ludwig Minkus, specially arranged by John Lanchbery, La Bayadère features scenery by PierLuigi Samaritani, costumes by Theoni V. Aldredge and lighting by Toshiro Ogawa. The full-length production of La Bayadère received its World Premiere by ABT in May 1980 at the Metropolitan Opera House. Don Quixote, staged by Kevin McKenzie and Susan Jones, after the choreography of Marius Petipa and Alexander Gorsky, will be given eight performances, June 7-12. Nina Ananiashvili and Jose Manuel Carreño will lead the season’s first performance of Don Quixote, which is set to the music of Ludwig Minkus and arranged by Jack Everly. The ballet features scenery and costumes by Santo Loquasto and lighting by Natasha Katz. The McKenzie/Jones staging of the current production was first performed by ABT in June 1995. Kevin McKenzie’s production of the Tchaikovsky classic, Swan Lake will have its first performance of the season on Monday evening, June 14 with Gillian Murphy as Odette/Odile and Jose Manuel Carreño as Prince Siegfried. Swan Lake, staged by Kevin McKenzie after Marius Petipa and Lev Ivanov, has scenery and costumes by Zack Brown and lighting by Duane Schuler. McKenzie’s staging received its World Premiere in March 2000 at The Kennedy Center for the Performing Arts. Generously underwritten by the Rosh Foundation, Swan Lake will continue for eight performances through June 19. Celebration in Honor of Frederic Franklin Eight performances of Coppélia, staged by Frederic Franklin, will be highlighted by a special celebration of Franklin’s 90th birthday on Monday evening, June 21. A distinguished ballet master and choreographer, Franklin was one of the original members of the Ballet Russe de Monte Carlo and has appeared with American Ballet Theatre in recent years. Coppélia is set to the music of Léo Delibes and features scenery by Tony Straiges, costumes by Patricia Zipprodt and lighting by Brad Fields. Franklin’s staging of Coppélia, which will be performed June 21-26, received its Company Premiere in February 1997. Leading the opening night cast of Coppélia will be Ashley Tuttle as Swanilda and Angel Corella as Franz. Additional repertory for American Ballet Theatre’s 2004 Metropolitan Opera House season includes Jiri Kylian’s Petite Mort and Sechs Tänze, Antony Tudor’s Pillar of Fire, staged by Donald Mahler and Within You Without You: A Tribute to George Harrison, choreographed by David Parsons, Ann Reinking, Natalie Weir and Stanton Welch. Repertory programs featuring these works are scheduled for May 11 evening, May 12 (matinee and evening), May 25 evening and May 26 matinee. Pillar of Fire has been generously underwritten by Mrs. Bernard L. Schwartz. ABTKids ABTKids, a special one-hour family friendly performance, is scheduled for Saturday, June 5 at 11:30 A.M. This season, ABTKids will feature a special appearance by PBS’ award-winning storybook character, Angelina Ballerina. All tickets for ABTKids are priced at $18. American Ballet Theatre’s annual Family Day Benefit, featuring Angelina Ballerina as Honorary Chair, will coincide with ABTKids on June 5 at 11:30 A.M. followed by a luncheon in the Tent at Lincoln Center. For information on Family Day, please call ABT’s Special Events office at 212-477-3030, ext. 3239. Reckson Associates is the Principal Corporate Sponsor of ABTKids. Additional support has been provided by The Wallace Foundation. FAMILY SERIES The matinees on Saturday, May 22 (Raymonda), and Saturday, June 26 (Coppélia) will offer tickets for children ages 4-14 at 50% off regular price with the purchase of one adult-priced ticket. Pre-performance workshops are also available on Saturday, May 22 (11:00 A.M.-12:00 P.M.), Saturday, June 5 (9:30-10:30 A.M.) and Saturday, June 26, (11:00 A.M-12:00 P.M). Tickets to the workshops are $20 per person and are available to ticket holders for the performance following the workshop. ABTalks ABTalks, 30-minute pre-curtain discussions, are held in List Hall one hour prior to performances and are free to ABT ticket holders. Please see schedule attached for dates. Tickets for American Ballet Theatre’s 2004 Metropolitan Opera House season go on sale March 28 at the Met box office or are available by phone at 212-362-6000. For more information, visit ABT’s website at www.abt.org <http://www.abt.org/> .

That's interesting -- I think sometimes the amount of noise you hear in that house depends on where you're sitting. I didn't hear that (but I don't doubt you!) I saw ABT do "Les Patineurs" for about five seasons before I sat in the back, where I could hear the 'swoosh, swoosh' of the 'skating.' Maybe she was wearing new shoes. I have to say that, as glad as I was to see Kistler again, my measuring stick for that role in "Serenade" was von Aroldingen (not a universally popular choice, I know). She was always the Abandoned Woman, and that worked here. She didn't dance the steps crisply by the time I saw her, and perhaps never did, but she always brought a sense of drama without being overly dramatic, and I thought Kistler was dancing it much as she would have 20 years ago; I didn't see a change in her. She's still a Girl, but an older one.

We always got them right after a NY season. Actually, I expected them to look exhausted and I didn't feel that at all. And they also looked rehearsed! I thought the "Serenade" looked over-careful and I had the same opinion as Ari, generally, about "Symphony in C" -- I thought it looked good. They've never had a regimented corps, and so it looked fine to me. I didn't see any problems keeping up with the music. They're in a place where several of the dancers are a bit too old, and several are a bit too young, but that happens with any company. There was more energy and excitement on this program (parts of Apollo and Symphony in C) than there has been at the few performances I've caught in New York the past few years.

It's March. Are they there yet? I would expect "Swan Lake" to be in much better shape than what was brought to Washington. I hope people will go -- and report!

Paolo, I think there are (and have always been) those who think that NYCB is unemotional, and those who think that their non-presentational stlye is what classical dancing should be. As there have always been people who look at the ballets and think "This is it? There's nothing going on here but steps!" and those who see an infinity in those steps. I thought DeLuz had been tamed considerably from his performances of the same role (3rd movement Symphony in C) with ABT. The solo is now integrated into the ballet, not an Evening of Championship Skating moment. I liked Fairchild very much, but I don't think they're well-matched as a partnership. Tiny as she is, she dances big -- I thought she was the most old-style Balanchinean dancer on stage! -- and needs a taller partner. I was so glad to see the company here. They were a fixture of the ballet season when I first started going. They came every winter -- usually February, and it was always warm, as it is now; one or two standees and latecomers would faint during Goldberg Variations, which they brought regularly then. I miss what were "our" ballets -- the staples then were the then-new works, like Vienna Waltzes and Union Jack (which I don't think I'd like to see now) and Chaconne -- but I realize that this was the "whatever you can throw in the suitcase" season and we're getting the works that were in rep.

Final word on pronunciation of Bowder from an NYCB spokesperson, who speaks ex cathedra on such matters: Bowder rhymes with Powder.

I think there were questions about why "La Ventana" wasn't done, but not protests. The "mirror dance" and the pas de trois were done at the closing night's gala, but not the full version. I'm sure that these ballets will be revived next season for a few performances before the Festival, so it won't be just one performance, but they're not part of the repertory. One thing I am glad about is that in 2000, at the Bournonville Week, I spoke with one of the members of the management team, who said that they were considering using a director from the Royal Theatre's drama division to "fix" "The King's Volunteers on Amager." (An absolutely perfect ballet that does not need enhancement, IMO.) There's no sign of this, so perhaps they learned from the "Kermesse" disaster in 2000, when a director was brought in, as well as a new "interpretation" of the score that there are some things that need to be left alone. The same productions of Folk Tale and Napoli, staged by the same people, were presented at that Bournonville Week, and they were not well-received. There were grumbles that "the Bournonville Gang" -- Frank Andersen, Dinna Bjorn, Anne Marie Vessel Schluter, Eva Kloborg -- had had the repertory for the past decade and it was time for a new team. The good part about these stagings, from my point of view, is that they are accurate as far as text goes -- they don't set "Napoli" in Milwaukee in 1920, say, and the steps are there. The problems lie in directing and, especially, casting. There seems to be an "if we put everybody in a role, surely one of them will be right!" way of doing things. I don't think these stagings make a good case for Bournonville, and although it's wonderful to have a festival celebrating his life and work, if the result is that the audience (not the foreign critics, at whom the festival is all too obviously pitched) is confirmed in its perception that Bournonville is hopelessly old-fashioned, overly cute and of interest only to American tourists and children, then I think the results are not what the planners hope for and intend. Of course, there are some wonderful Danish dancers who are well worth seeing, and the "La Sylphide" is at the same level as the best productions of that ballet. The dancers I interviewed all said they were inspired by working with Hubbe, and what they learned from working with him may carry over into other ballets. As always, I live in hope During the Revolving Door period, when there was a different artistic director and aesthetic nearly every season, I'd get calls from friends from time to time, when a ballet that the dancers really cared about was on, saying "you could tell that the dancers were fighting for it" -- i.e., fighting to make it work, kind of, I imagined, like pilots trying to land planes in moutainous terrain on a moonless night. I hope the dancers will fight for Bournonville.

There's a review of this by Lisa Traiger on Danceview Times this week: Batsheva: Breaking Down Walls

The selection is all the extant Bournonville ballets, which have been done at all the festivals (except Andersen dropped La Ventana in 1992). It's the productions that are troublesome. It will be interesting to see what Riggins does with "Kermesse in Bruges." He's got good instincts; the problem is he didn't work much at all with Brenaa. Brenaa was ill when Riggins came to the company. Hubbe's "La Sylphide" is wonderful. The rest are the same stagings and stagers who've had a lock on Bournonville since 1990, and they're not very good. "Napoli" was a mess here a month ago, and the senior mime who held the thing together just retired. Some of these ballets -- the "little" ones that so many of the Danes scorn (Lifeguards and Far From Denmark) have been out of repertory for 13 years and were only in repertory for a very brief time then; they haven't been part of the company's life since 1985.

SEASON TO FEATURE Alvin Ailey American Dance Theater, Ballet Hispanico, Bangarra Dance Theatre, Martha Graham Dance Company and Paul Taylor Dance Company Season will also showcase special Kennedy Center festival, Masterpieces of African American Choreography America Dancing is sponsored by Altria Group, Inc. The 2004-2005 America Dancing series, the Kennedy Center’s retrospective of modern dance, will bridge a full range of artistic perspectives, from the foremost masters of the genre to the art form’s newest and most brilliant voices. America Dancing will feature return engagements by perennial Kennedy Center favorites Alvin Ailey American Dance Theater and Paul Taylor Dance Company plus encore performances by Bangarra Dance Theatre and Ballet Hispanico. Additionally, the 2004-2005 season will bring the return of the rejuvenated Martha Graham Dance Company and the special Kennedy Center festival Masterpieces of African American Choreography. The 2004-2005 America Dancing series will include: Bangarra Dance Theatre, November 5-6, 2004 – Eisenhower Theater Bangarra Dance Theatre, an Australian company which blends traditional Aboriginal history and culture with contemporary dance, returns to the Kennedy Center with Artistic Director Stephen Page’s newest work, titled Bush. Paul Taylor Dance Company, December 16-19, 2004 – Eisenhower Theater Paul Taylor Dance Company celebrates its 50th Anniversary with a program of classic Taylor works. After more than 100 choreographed dances, Kennedy Center Honoree Paul Taylor continues to create a richly diverse repertoire reflecting the cultural heritage of a career spanning six decades. He has created a broad spectrum of dances: joyous, terrifying, hilarious, and awe-inspiring. “If Paul Taylor is not the best choreographer to emerge in any style anywhere in the world in the past quarter century, who is?” (The Times of London). Martha Graham Dance Company, February 17-19, 2005 – Eisenhower Theater Martha Graham Dance Company presents a program to include her classic Appalachian Spring as part of the Kennedy Center’s A New America: The 1940s and the Arts, celebrating a particularly fruitful era in Kennedy Center Honoree Martha Graham’s choreographic oeuvre. Alvin Ailey American Dance Theater, February 22-27, 2005 – Opera House Alvin Ailey American Dance Theater returns for its annual engagement in the Opera House with repertoire including Ailey classics such as Revelations, as well as new works by today’s most outstanding and innovative African American choreographers. “One cannot deny the genius behind Ailey’s…stirring eloquence,” (The Washington Post). This internationally renowned company, founded by Kennedy Center Honoree Alvin Ailey and helmed by Kennedy Center Honoree Judith Jamison, comes to the Kennedy Center as a co-presentation with Washington Performing Arts Society. Ballet Hispanico, April 5-6, 2005 – Eisenhower Theater Ballet Hispanico brings its unique fusion of ballet, modern, and Latin dance forms to the Eisenhower Theater for two performances. Masterpieces of African American Choreography, April 19-24, 2005 – Eisenhower Theater The Kennedy Center presents an unprecedented exploration of the contribution of African American choreographers to the world of modern dance in six programs. Introduced by Judith Jamison and Carmen DeLavallade, the week will feature multiple companies sharing themed programs. Participants, including African American Dance Ensemble, Alvin Ailey American Dance Theater, Dance Theatre of Harlem, Ronald K. Brown/Evidence, Cleo Parker Robinson Dance, Dayton Contemporary Dance Company, Garth Fagan Dance, Rennie Harris Puremovement, Koffi Koko, Diane McIntyre, Paradigm, Philadanco, Urban Bush Women and Lula Washington Dance Theatre represent the full range of African American dance in this country. Also part of the Kennedy Center etcetera series. All programs and artists are subject to change. The Kennedy Center America Dancing series is sponsored by Altria Group, Inc., the parent company of Kraft Foods, Philip Morris International, and Philip Morris USA. Altria Group has been a major funder of the Kennedy Center since 1977. For more than 45 years Altria Group has been actively engaged in improving, vitalizing and strengthening communities across the globe. For more information about the Altria family of companies’ programs and partnerships visit www.altria.com/media_programs. International programming at the Kennedy Center is supported by the Kennedy Center International Committee on the Arts. As part of the Kennedy Center’s ongoing education program Performance Plus™, events will be held in conjunction with most engagements. To receive subscription information by mail, call the Subscription Office: (202) 416-8500. Subscriptions may be purchased in advance. Groups of 20 or more may contact Kennedy Center Group Sales: (202) 416-8400. Dates for sales of individual tickets will be announced at a later date. For more information about the Kennedy Center, please visit www.kennedy-center.org

Thank you, RG! I'm going to leave this here for a day or two and then make it a sticky. Thank you for sharing the photos, and your knowledge. It will be like getting to take a flash card course in ballet history! Ballet Alertniks, do discuss the photos here!

Sandi, there is a thread over in the Modern Dance forum: http://balletalert.com/forum/index.php?showtopic=12565

Good question! I think there's a difference between the general categories -- emploi -- and specific qualities of an individual dancer. I can't speak to whether the concept of emploi has been ignored in current casting, but I remember that leibling (who's danced a leading role in this ballet and knows the work as it's in her company's repertory) the first time she heard the concept of emploi, went through "Jewels" role by role and plunked those roles down into categories that sounded right to me. I hope she sees this thread.

"raised" isn't right -- whatever is the opposite of "drooped". The chest isn't "pulled up" but the shoulders don't slope, either. It's more a matter of the silhouette and line than an individual position, or the way one particular step or arm position is performed. (There was a similar difference in line betwen Gregory and Makarova in Swan Lake.)

I don't know, not having seen the original! Perhaps there were both, in that first cast (Karsavina being classical, Pavlova, Romantic.) Have you seen the video, Glebb? Fonteyn's line is more square -- I thnk of it as you could put her in a circle or a square, but Makarova needs a rectangle or an oval (proportions, obviously). But also the shoulders are raised, not drooped. When I first saw it, I thought she looked stiff, but as I watched it, I realized I was watching something different.

I don't think foreigners in German companies hits more than economic issues, as the academies don't represent national styles in the same way as they do in Britain, France and Denmark. I think the Royal Ballet School is open now -- I think the EU has changed things, too, because you're not a "foreigner" if you're a from an EU country. Denmark is still pretty much Danish because it's not a boarding school, but they're working to change that.

Ah standardization -- and welcome, Paolo! The Washington Post doesn't have little things like umlauts and accent marks, so many foreign words -- even if they're of a foreign leader -- are mispelled. Their software can't manage them, even though a $500 Dell computer can. This is progress

Since we have conflicting ear-witness accounts, I'll ask the press people when the company is here next week.

For another view, read Sarah Kaufman's review in today's Washington Post [copied over from Links]: Sarah Kaufman reviews John Neumeier's Nijinsky, given by the Hamburg Ballet at the Kennedy Center, in the Washington Post.

The problem, for me, is that if it's expressionist, why is there so little expression? Diaghilev is a stick of wood, no authority, no sense that this was the greatest man in the arts at the time, and god knows no taste (talk about Liberace outfits). The viewpoint is confused, too -- we're not always inside Nijinsky's head. He switches in and out, as convenient, so that blows the "he's going mad and this is what he's thinking" angle and leaves you with what are basically incoherent ramblings -- or, as the program note says, "choreographic approaches". Whatever that means. I'm always puzzled by the critics who find Neumeier deep and intellectual. You can pick up every shade of meaning, every choreographic quote, and every double casting by a second viewing, and have lots of time to remember the passages from this or that book that a particular gesture or moment is supposed to represent -- or not. (why does stanislav, who was not mad but "dim-witted" -- he fell on his head when he was a child and was so severely brain damaged that he was institutionalized for most of his life, count to five on both hands, quite successfully, and then Vaslav does the same thing, as though teaching him what he already knows? And he was the older brother, not the younger, as the sizing of the casting and Stanislav's demeanor, implies. But if you look at it as decorative entertainment, there is a sweep to it . What I thought was good to see was something NEW danced by people obviously committed to what they were doing. It also shows what you can do with money. I kept thinking we won't have to worry about imiitations becuase no American company could afford something like this. Please, don't prove me wrong on that! But, as a friend said to me last night, compared to the George Harrison ballet, it's quite good! I'd still urge people to go -- see what this is about. The audience liked it very much last night. More enthusiasm than opening night (which is often the case here.)

I saw the second cast tonight. I decided to try to watch it as though I knew nothing about Nijinsky except he had been a very great dancer -- it helped. I stopped worrying about why the nesting heads from "Les Noces" appeared in "Jeux", etc., and why World War I had been fought in hot pants, and just watched it as a fantasy.

Not trying to make the discussion binary (there are other "categories" too, of course,) nor saying they're pillars for a discussion, just useful words and concepts in analyzying a work.

Joe, I'm remembering Kathleen Moore from her time in thie corps. I think the biggest classical role I ever saw her do was one of Aurora's "Maids of Honor" in Sleeping Beauty, but I liked her dancing a lot, especially the arms. Yes, she did Hagar, and a lot of other "character" or acting roles.

Booing a dancer? I can't think of a situation in which it would be justified. Maybe others are more imaginative.....